Baritone saxophone
The baritone saxophone or "bari sax" is one of the larger members of the saxophone family of woodwind instruments, only being smaller than the bass, contrabass and subcontrabass saxophones. It is the lowest-pitched saxophone in common use. The baritone saxophone uses a mouthpiece, reed, and ligature in order to produce sound. It is larger than the tenor, alto and soprano saxophones, which are the other commonly found members of the family, and it is pitched one octave below the alto. The baritone saxophone is commonly used in concert bands, chamber music, military bands, and jazz. It also is occasionally employed in rock bands and marching bands, though less frequently than other saxophones due to its size, weight, and cost.
History
The baritone saxophone was created in 1846 by the Belgian instrument maker Adolphe Sax as one of a family of 14 instruments, developed to be a tonal link between the woodwinds and brasses, which Sax believed to be lacking. The family was divided into two groups of seven saxophones each from the soprano to the contrabass. Though a design for an F baritone saxophone is included in the C and F family of saxophones, no known F baritones exist. The family consisting of saxophones in the keys of B and E was more successful because of their popularity in military bands, and the E baritone is the fifth member of this family.Originally, like all saxophones the baritone was keyed to low B, but a low B mechanism was patented in 1887 and by 1910 this was standard for most saxophones including baritones. Over time players began creating 'low A pipes' to insert into the bell and extend the range to the very useful pitch of low A, at the expense of making low B inaccessible and low B out of tune. This method is still used today by some players. From the 1930s through the 1950s, manufacturers experimented with extending the bell to add a low A key to the horn. The simplest way was to add a cylindrical section between the bell and bow to provide the extra length and tone hole, and some makers produced and sold instruments built this way, but these horns generally suffer from intonation problems in the lowest few notes and players often consider their tone poor as well. Selmer Paris began producing low A versions of the Mark VI baritone saxophone in the late 1950s which had a bell that had been designed separately from the low B version, and these instruments do not generally suffer from the same intonation problems as horns with a cylindrical extension. In the 1970s, Yamaha's YBS-61 was keyed to low A with no low B option, and by the 1980s most baritones were being manufactured with a low A bell. In modern times, only a few manufacturers still produce low B instruments, as the low A is considered standard and is often written in sheet music for the instrument.
In its original form, the baritone saxophone's highest keyed note was high Eb, but instruments keyed to high F became standard during the 1920s. High F# became a rare option starting in the 1950s and slowly became more common, but as with other modern saxophones, most baritones are now manufactured with a high F key.
Description
The baritone saxophone, like other saxophones, is a conical tube of thin brass. It has a wider end, flared to form a bell, and a smaller end connected to a mouthpiece. The baritone saxophone uses a single reed mouthpiece like that of a clarinet. There is a loop in the top of the body in two U-shaped pieces of tube called the upper bow and spit bow, to reduce it to a practical height.Baritone saxophones are typically found in two versions with one ranging to low A and the other to low B. Despite the ubiquity of the low A horn, some players still prefer to use B horns because of the added weight of a low A bell or because of personal preference for a particular vintage instrument. Some also believe low A horns sound inferior in the low range, however this is the subject of debate among players.
The baritone saxophone's relatively large mass has led to the development of harness-style alternatives to neckstraps which distribute the instrument's weight across the user's shoulders. Several different kinds exist which each distribute weight differently across the saxophonist's neck, clavicle, and shoulder blades. Many marching saxophonists prefer this style for its ability to decrease fatigue. Those who mainly perform seated, on the other hand, may dislike the decreased ability to move one's upper body with a harness. Some modern instruments are also produced with mounts for floor pegs to reduce weight on the player's neck when seated, similar to those found on bass clarinets.
Transposition
It is a transposing instrument in the key of E, pitched an octave plus a major sixth lower than written. It is one octave lower than the alto saxophone. Modern baritones with a low A key and high F key have a range from C2 to A4. Adolphe Sax also produced a baritone saxophone in F intended for orchestral use, but these fell into disuse as the saxophone never became a standard orchestral instrument.As with all saxophones, its music is written in treble clef. By coincidence, it is possible to use a trick known as clef substitution to read music written in bass clef at concert pitch, by reading as if it were a transposing part in treble clef and pretending there were three more sharps in the key signature. A similar trick allows instruments in B like the tenor saxophone to read concert pitch tenor clef.
In classical music
The baritone saxophone is used as a standard member of saxophone quartets.It has also been occasionally called for in music for orchestra. Examples include Richard Strauss' Sinfonia Domestica, which calls for a baritone saxophone in F; Béla Bartók's The Wooden Prince ballet music; Charles Ives' Symphony No. 4, composed in 1910–1916; and Gershwin's Rhapsody in Blue and An American in Paris. In his opera The Devils of Loudun, Krzysztof Penderecki calls for two baritone saxes. Karlheinz Stockhausen includes a baritone saxophone in Gruppen.
It has a comparatively small solo repertoire although an increasing number of concertos have appeared, one of these being "" by American composer Philip Glass. This is a piece that can be played with or without an orchestra that features the baritone sax in the second movement.
In jazz music
A number of jazz performers have used the baritone saxophone as their primary instrument. It is part of standard big band instrumentation. As phrased by Alain Cupper from JazzBariSax.com, "Used a few times in contemporary classical music...it is especially in jazz that this wonderful instrument feels most comfortable." One of the instrument's pioneers was Harry Carney, longtime baritone saxophone player in the Duke Ellington band.Since the mid-1950s, baritone saxophone soloists such as Gerry Mulligan, Cecil Payne, and Pepper Adams achieved fame, while Serge Chaloff was the first baritone saxophone player to achieve fame as a bebop soloist. In free jazz, Peter Brötzmann is notable.
A noted Scottish performer is Joe Temperley, who has appeared with Humphrey Lyttelton as well as with the Lincoln Center Jazz Orchestra.
More recent notable performers include Hamiet Bluiett, John Surman, Scott Robinson, James Carter, Stephen "Doc" Kupka of the band Tower of Power, Nick Brignola, Gary Smulyan, Brian Landrus, and Ronnie Cuber. In the avant-garde scene, Tim Berne has doubled on bari. Jazz/funk player Leo Pellegrino of Lucky Chops and Too Many Zooz has become popular with younger listeners for his aggressive playing style and energetic performances.
In other music
The baritone sax is an important part of military bands and is common in musical theater. The baritone sax also plays a notable role in many Motown hits of the 1960s, and is often in the horn sections of funk, blues, Latin, soul bands, and is used in rock music although it is not as common.Prominent baritone saxophonists in contemporary American popular music include Stephen Kupka of Tower of Power, Dana Colley of Morphine, and Leroi Moore of the Dave Matthews Band.
Nigerian Afrobeat singer, musician, and bandleader Fela Kuti typically featured two baritone saxophone players in his band.
A few modern non-jazz artists have recently begun to incorporate saxophones into their instrumentation. The LA Indie rock band Fitz and The Tantrums featured both an alto and a baritone saxophone in their music—most recently their 2016 song "Handclap" from an album of the same name. Both were played by band member James King. The "Brass house" group Too Many Zooz is another group that has popularized the baritone saxophone. Originally a New York City subway band, the trio has released three albums and been featured on a TEDxYouth@Budapest segment.